Null Pronghorn antelope (Antilocapra americana) (NR): front mounted on patch wit…

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Pronghorn antelope (Antilocapra americana) (NR): front mounted on patch with collection plate 1978

143

Pronghorn antelope (Antilocapra americana) (NR): front mounted on patch with collection plate 1978

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Estim. 190 - 285 EUR

Julius Lange, Kirche am See idyllic late summer lakeside scene by a silting pond and a view of the church in a mountainous landscape, Hyacinth Holland noted in "Allgemeine Deutsche Biographie (1883)" "... His ease in creating artistically appealing pictures from mere vedute, in rewriting all impressions with poetic feeling, seemed to grow rather than tire with the years. Lange especially loved to depict nature in solemn tranquillity and sunny clarity, ... whereby the combination of water and forest offered new attractions. ..." and Seubert (1878) adds "... Lange ... but always spoke to the mind; he worked more through light and colour than through form, more charming than powerful. ...", atmospheric, slightly impasto landscape painting, oil on card, mounted on further card slightly protruding at the sides, signed and dated "Julius Lange 1864" lower left, old label on the reverse "A. Pütterich - k. k. Hof-Vergolder München Löwengrube Nr. 17" on the reverse, the painting ground slightly bulging, marginal defects, in need of cleaning and some restoration, beautifully framed in a gilt stucco frame c. 1900, rebate dimensions c. 41 x 50.5 cm. Artist information: actually Julius Ludwig Christian Lange, German painter and draughtsman (1817 Darmstadt to 1878 Munich), initially collaborated on the book project "Ansichten der schönsten Gegenden Deutschlands in Stahl- und Kupferstichen" (Views of the most beautiful regions of Germany in steel and copper engravings) completed in 1832 by his older brothers Gustav Georg Lange (1812-1873?) and Ludwig Lange (1808-1868), initially a pupil of Franz Hubert Müller in Darmstadt, studied from the end of 1833 at the Munich Academy and from 1836-39 at the Düsseldorf Academy under Johann Wilhelm Schirmer, undertook a study trip through Switzerland with Schirmer in 1837, settled in Munich in 1840 with Schirmer's support and became a pupil of Carl Rottmann, undertook study trips through southern Bavaria, Tyrol and to Italy, the Düsseldorf Academy already attested to his "great talent" and Lange quickly succeeded, He worked for the academies in Venice and Milan, of which he became an honorary member; from 1854 he lived in northern Italy and had contacts with the Milanese court, where he worked until 1857 as art tutor to Archduchess Charlotte of Belgium - later Empress of Mexico; in 1858 he returned to Munich, where he gained access to the Bavarian royal family and was promoted and appointed court painter by King Maximilian II of Bavaria. of Bavaria, worked as court painter for King Ludwig II from 1867, produced designs for the royal palaces of Linderhof and Herrenchiemsee, among others, attended the major art exhibitions in Berlin, Dresden, Cologne, Hanover, Vienna, Paris and Munich, fell ill in 1877 and stayed at Lake Chiemsee, worked in Munich, source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon" and "Lexikon der Düsseldorfer Malerschule", Boetticher, Allgemeine Deutsche Biographie, Matrikel der Münchner Akademie, Müller-Singer, Seubert, Müller-Klunzinger, Bruckmann "Münchner Maler des 19./20th century" and Wikipedia.

Estim. 100 - 200 EUR

A SCROLL PAINTING OF DEITIES RIDING ANTLERS, c. 1900s A SCROLL PAINTING OF DEITIES RIDING ANTLERS, c. 1900s Japan, late 19th to early 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a silk brocade frame with wooden handles. Depicting deities riding antlers. Inscriptions: Signed with seal. Image SIZE 125 x 44.5 cm, SIZE incl. mounting 191 x 57.3 cm Condition: Wear, browning of paper, fading, creasing, folds, and miniscule losses. The frame with signs of wear and age. With a wood tomobako storage box. (2)

Estim. 800 - 1 600 EUR

A RED SANDSTONE FIGURE OF A JINA, 13TH-15TH CENTURY OR LATER A RED SANDSTONE FIGURE OF A JINA, 13TH-15TH CENTURY OR LATER Western India, Rajasthan or Gujarat. Carved standing upright in kayotsarga and with his feet together atop a lotus base, the arms hanging to his knees, completely nude, the face with downcast eyes below gently arched eyebrows, the mouth with full lips, flanked by elongated earlobes, surmounted by a high headdress decorated with pearls, backed by a halo, with two female adorant figures to the top and two flanking his feet. Condition: Good condition, commensurate with age, extensive wear, signs of weathering and erosion, losses, encrustations, and small repairs to the left hand and toe. Provenance: Austrian private collection. Weight: 42.8 kg Dimensions: Height 82.5 excl. base, 84 cm incl. base Mounted to a metal base. Jinas are depicted in only two poses: Kayostarga, standing, or dhyani, seated in meditation, and due to the identical poses and expressions they are distinguished mainly by their vahanas, or vehicles, appearing at the feet of the figures or carved on to the pedestals. In the present example, an exact identification of the Jina is not possible. However, Mahavira is the most commonly represented of the tirthankaras in the kayostarga attitude, and therefore an attribution seems appropriate. Another reasonable attribution would be the second tirthankara, Ajitanatha, whose emblem is the elephant, two of which are carved at the top of this stele. The earliest extant Jain images date to the first century C.E. and were created in the area around Mathura, the center of much religious activity. Jainism is India’s third great ancient religion and was founded contemporaneously with Buddhism, from which it differed by its advocating the attainment of a spiritual life through asceticism. This may account for the conventional depiction of tirthankaras in a rigid frontal pose. The term Jina, meaning “Conqueror” or “Victor of over Life” is applied to one who, like the Buddha, has attained perfect knowledge. Tirthankara meaning “He who has crossed the Ford” of rebirth and attained perfect freedom, is equivalent to Jina. In many respects, and more particularly in the seated poses, the Jina figure has many parallels to the Buddha image with the exception that, among the Digambara sect of Jains, the figure is always nude and the chest bears the srivasta. The nudity of Jain saints was a practice of both asceticism and their belief in non-possession, dating back to the days of Mahavira. However, a schism arose in around 79 C.E., extensively recorded in literature, about what constitutes total renunciation. At the time, Jain monks separated into rival factions, the Digambaras “clothed with the sky” or nude and the Svetambaras, “clothed with white”, who partially clad themselves with white cloth. According to inscriptions the Svetambaras worshipped the nude image without objection and for both sects the Jinas and the saint Bahubali are represented naked while all other deities are clothed and even ornamented. The present sculpture symbolizes mankind disregarding the material world and his animal nature. The figure is a human being transformed into a god-like state and the worship of it is not a two-way interaction but a meditation, where the deity is not expected to grant favors but rather to exemplify a state of being attainable by all. Literature comparison: Compare a related sandstone figure of a Digambara Jina, India, dating to the early 11 th century, 134.6 cm high, in the Philadelphia Museum of Art, accession number 1935-39-2.

Estim. 1 800 - 2 000 EUR

Rosette ring in 18kt yellow gold. With central emerald, emerald cut, weighing ca. 0.65 cts., mounted on a floral body dotted with diamonds, brilliant cut, color G-H, purity VVS-VS, with a total weight of ca. 1.05 cts. Measurements: 17 mm (inner diameter); 21 mm (front diameter).

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